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EXHIBITION 27 APRIL — 8 MAY PREVIEWS 26 APRIL 28 CHRISTCHURCH ARTISTS The artisls, graduates from Canterbury School of Fine Arts and Professional artists living and working in Christchurch, combine to exhibit bienially. The exhibition provides a large space for the artists to show individual works therein creating aspects of a group containant expressing its own directive. MAURIE ANGELO An exhibition of recent paintings. These works continue this artists exploration of the landscape as a means to extend a visual language that reveals its subject and challenges some visual conventions. PAUL DEW 1987-88 Sculptures "For the past two years since graduating from the Canterbury School of Fine Arts I have been involved in the production of parade floats as a display artist for Farmers Trading Company. The process of fibreglass mould making has been fundamental. Head moulds for story book characters, Mannequin parts and the repetition of sealed up toy components exemplify its use. Previously my sculptures were constructions of welded steel, the parts organised on a rational figurative format. Fibreglass, plywood and steel exploration is now the resource for new sculptures, and subject-matter is based around the manipulation of anatomical elements." GARY TRICKER Prints by this acclaimed printmaker which combine whimsical approach with technical virtuosity. Helen Rocket/Self Portrait 12 In my workshop/Paul Dew
CALLIGRAPHY SKILLS FROM LONDON Calligraphy; the name itself envokes a host of curious responses. Derived from the Greek KALLOS GRAPHOS, (beauty written) the art of beautiful writing is enjoying a strong revival. In Britain the lost methods of penmanship were rediscovered this century by studies of early manuscripts housed in the British Museum. The classic text emerging from this research Writing & Illuminating & Lettering — Edward Johnston, was published in 1906, and is still in print today, largely unchanged. Though calligraphy is now firmly re-established in the Northern Hemisphere, its following has always been deep rather than wide, mostly because the printing press inhibited commercial applications of of the art. However, the current generation of trained letterers have turned the new print process to their advantage, resulting in work limited only by the knowledge and imagination of the artist and those who demand it. Full professional training in calligraphy is as yet unavailable in New Zealand, although aspects are offered for the amateur in the form of part-time classes, but the interest level in this country is high. Mary-Rose Leversedge, of Christchurch, has recently returned from the United Kingdom after graduating with a Diploma in Lettering. The two year course was at the City and Guilds of London Art School, run by the President of The Royal Academy. At present Mary-Rose is preparing a studio at her parents home in Avonside, and giving Demonstrations throughout New Zealand to promote interest in this art. Outlining her studies in London, Mary- Rose conveys her interst in the subject: "Calligraphy succeeds in elevating written or printed information, by not only conveying the message, but attracting and pleasing the eye. Further insight develops an historical awareness of how we come to write the way we do today. Then for me there was the realization that quite apart from aesthetics and the development of writings, Letter forms generally, are a permanent and fundamental part of communication which may be utilized effectively in design. It is important however, for individuals to recognize that beautiful writing does not just 'happen'. Calligraphy is rather, the result of an acquired skill that requires a good deal of knnowledge, concentration and patience, just as is a sense of design. The art is to make beautiful lettering look effortless; the product natural and beautiful in one. This is what I would like to emphasize in the demonstrations whilst also encouraging people to incorporate calligraphy possibilities within their thinking. When New Zealanders are aware that the skills are available to them, I hope they will be enthusiastic in thanking advantage of the fact. As regards the training, it was probably prompted by a predelection for the unusual or an appreciation of uncommon beauty . . . what ever the reasons, the fees alone were staggering £2,500.00 each year! ($7,500.00) However the course was unique in that all aspects of lettering were covered, not solely calligraphy but Typography, brush forms, gilding, experimental and letter cutting in stone — all with an emphasis on design and Layout. Before progressing to the broad edged pen we were made to spend painstaking weeks analysing the classical Roman Alphabet in order to properly and thoroughly understand the letterforms. Other aspects of the course were studies in Life and Plant drawing, Bookbinding, Papermaking and Heraldry — administered by the College of Arms. I was rather fortunate to have joined the University of Readings Dept. of Typography and Graphic Communication (a 4 yr. degree course) on their study trips to Europe, which enabled us to study the orginal works such as the vibrant scripts of the renowned German Calligrapher and Type Designer Rudolph Koch, whose pupil and apprentice was our tutor at City & Guilds. It was also invaluable to be meet and exchange ideas with practicing talligraphers from Saudi Arabia, the United Slates, South Africa, the Continent, Ireland and Australia — as well as England, during an International Calligraphy Workshop held at the Digby Stuart College, London, in 1986. Fortunately I was assisted in my final year by an award from the Q.E.II Arts Council of N.Z., which recognizes the diploma course. The schools mentioned are the only such institutions in the United Kingdom, attracting pupils from throughout the world because instruction in London is 'at the source' of the revival. 13
Page 2 and 3: CSA GALLERY The Journal of the Cant
Page 4 and 5: VIEWS REVIEWS ART EDUCATION — ITS
Page 6 and 7: OPENING SHOTS DECEMBER/JANUARY
Page 8 and 9: SILVERY MERRY BONE WORDS AND PIKSHA
Page 10 and 11: PAULINA CURRIE Paulina Currie was b
Page 14 and 15: Contemporary Art at Auction every t
Page 16 and 17: QUALITY ART AND ANTIQUE AUCTIONS
Page 18 and 19: Fine Jewellery in gold and by silve
Page 20: hs FEBRUARY/MARCH/APRIL ALAN PEARSO

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